Yuri Alekseevich Vasnetsov(1900-1973) - Russian Soviet artist; painter, graphic artist, theater artist, illustrator. Laureate of the State Prize of the USSR (1971).
Biography
Born March 22 (April 4), 1900 in the family of a priest in Vyatka (now the Kirov region). His father served in the cathedral in Vyatka. A distant relative of the artists A. M. Vasnetsov and V. M. Vasnetsov and the folklorist A. M. Vasnetsov. From his youth and throughout his life he was friendly with the artist Yevgeny Charushin, who was born in Vyatka and later lived in St. Petersburg.
In 1919 he graduated from the Unified School of the second stage (the former Vyatka First Men's Gymnasium).
In 1921 he moved to Petrograd. Entered the Faculty of Painting VKhUTEIN, then - PGSHUM, where he studied for five years, with teachers A. E. Karev, A. I. Savinov. Vasnetsov wanted to be a painter and sought to acquire all the skills necessary to work in painting. From the experience of his teachers, Vasnetsov did not adopt anything that would have influenced him as a painter, with the exception of the influence of M. V. Matyushin, from whom he did not directly study, but was familiar with him through his friends, artists N. I. Kostrov, V. I Kurdov, O. P. Vaulin. Through them, he got an idea of Matyushin's theory, and got acquainted with the "organic" trend in Russian art, the closest to his natural talent.
In 1926, the VKhUTEIN course, where the artist studied, was released without a diploma. In 1926-1927. Vasnetsov taught fine arts for some time at the Leningrad School No. 33.
In 1926-1927. together with the artist V. I. Kurdov, he continued his studies in painting at GINHUK under K. S. Malevich. He was admitted to the Department of Painting Culture, led by Malevich. He studied the plasticity of cubism, the properties of various pictorial textures, created "material selections" - "counter-reliefs". The artist spoke about the time of his work in GINHUK as follows: “All the time the development of the eye, form, construction. I liked to achieve materiality, the texture of objects, colors. See color! The work and training of Vasnetsov with K. S. Malevich at GINKhUK lasted about two years; during this time, the artist studied the significance of pictorial textures, the role of contrast in the construction of form, the laws of plastic space.
Paintings made by Vasnetsov during this period: counter-relief "Still life with a chessboard" (1926-1927), "Cubist composition" (1926-1928), "Composition with a pipe" (1926-1928), "Still life. In the workshop of Malevich" (1927-1928), "Composition with violin" (1929), etc.
In 1928, the art editor of the Detgiz publishing house, V. V. Lebedev, attracted Vasnetsov to work on a children's book. The first books illustrated by Vasnetsov were "Karabash" (1929) and "Swamp" by V. V. Bianki (1930).
Many books for children in the design of Vasnetsov were repeatedly published in mass editions: "Confusion" (1934) and "The Stolen Sun" (1958) by K. I. Chukovsky, "Three Bears" by L. N. Tolstoy (1935), "Teremok" (1941 ) and “Cat’s House” (1947) by S. Ya. Marshak, “English Folk Songs” translated by S. Ya. Marshak (1945), “Cat, Rooster and Fox. Russian Fairy Tale (1947) and many others. He illustrated The Little Humpbacked Horse by P. P. Ershov, books for children by D. N. Mamin-Sibiryak, A. A. Prokofiev and other publications. Vasnetsov's children's books have become classics of Soviet book art.
In the summer of 1931, together with his Vyatka relative, the artist N. I. Kostrov, he made a creative trip to the White Sea to the village of Soroka. Created a cycle of paintings and graphic works "Karelia".
In 1932 he became a member of the Leningrad branch of the Union of Soviet Artists.
In 1934 he married the artist Galina Mikhailovna Pinaeva, and in 1937 and 1939 his two daughters Elizaveta and Natalia were born.
In 1932 he entered graduate school at the painting department of the All-Russian Academy of Arts, where he studied for three years. In the thirties, Vasnetsov's painting reaches a high level of skill, acquires an original, unique character, not similar to the work of artists close to him. His painting of this time is compared with the works of V. M. Ermolaeva and P. I. Sokolov in terms of the strength and quality of painting, in terms of the organic element of color: “Vasnetsov preserved and increased the achievements of the original national pictorial culture.”
"Traditions of ancient times" came to life thanks to the brush of Viktor Vasnetsov. Bogatyrs and princesses went beyond book lines and illustrations. The artist grew up in the wilderness of the Ural forests on Russian fairy tales that sounded to the crackle of a torch. And already being in St. Petersburg, he did not forget his childhood memories and transferred those magical stories to the canvas. We examine fabulous canvases with Natalia Letnikova.
Alyonushka
A barefoot, simple-haired girl on the banks of a forest river. With inexpressible sadness, he looks into a deep pool. The sad picture was inspired by a fairy tale about sister Alyonushka and brother Ivanushka, and he painted an orphan from a peasant girl from the Akhtyrka estate, adding, as he himself admitted, the features of Verusha Mamontova, the daughter of a famous Moscow philanthropist. Nature echoes girlish sadness, intertwining with the poetry of folk tales.
Ivan Tsarevich on the Gray Wolf
Gloomy dark forest. And a gray wolf, quite expected for such a thicket. Only instead of an evil grin, the predator has human eyes, and on it are two riders. Cautious Ivanushka carefully holds Elena the Beautiful, submissive to fate. We recognize not only the plot of the Russian fairy tale, but also the image of the girl. The artist endowed the fairy-tale heroine with real features - Savva Mamontov's niece, Natalia.
V.M. Vasnetsov. Alyonushka. 1881
V.M. Vasnetsov. Ivan Tsarevich on a gray wolf. 1889
Bogatyrs
Viktor Vasnetsov. Bogatyrs. 1898
Vasnetsov devoted 20 years of his life to one of the most famous paintings in Russian painting. "Bogatyrs" became the artist's largest painting. The size of the canvas is almost 3 by 4.5 meters. Bogatyrs are a collective image. Ilya, for example, is a peasant Ivan Petrov, and a blacksmith from Abramtsevo, and a cab driver from the Crimean bridge. At the heart of the picture are the childish feelings of the author. “So it was before my eyes: hills, space, heroes. Wonderful dream of childhood.
Song of Joy and Sorrow
Viktor Vasnetsov. Sirin and Alkonost. A song of joy and sorrow. 1896
Alkonost and Sirin. Two half-birds with ghostly promises of a cloudless paradise in the future and with regrets about the lost paradise. Vasnetsov embellished sexless birds, giving mythical creatures beautiful female faces and rich crowns. Sirin's singing is so sad that the leaves of a century-old tree turned black, the delight of an alkonost can make you forget about everything ... if you linger on the picture.
Carpet plane
Viktor Vasnetsov. Carpet plane. 1880
Painting for the Railroad Administration. Not a train, not even a postal troika. Carpet plane. This is how Victor Vasnetsov responded to the request of Savva Mamontov to paint a picture for the industrialist's new project. The fabulous flying machine, a symbol of victory over space, puzzled the members of the board and inspired the artist himself. Mamontov bought the painting, and Vasnetsov discovered a new world for himself. In which there is no place for the ordinary.
Three princesses of the underworld
Viktor Vasnetsov. Three princesses of the underworld. 1884
Gold, copper and coal. Three riches that are hidden in the bowels of the earth. Three fabulous princesses are the embodiment of earthly blessings. Proud and haughty gold, curious copper and timid coal. Princesses are mistresses of mountain mines, accustomed to command people. There are two pictures with such a plot at once. On one of them in the corner - as petitioners, the figures of two men obsequiously looking into beautiful cold faces.
Koschei the Deathless
Viktor Vasnetsov. Koschei the Deathless. 1917–1926
Rich mansions with chocolate, red and gold hues. The luxury of brocade and rare woods is a worthy frame for heavy chests with treasures, and the main treasure that Koshchei is not given in his hands is a young beauty. The girl is interested in the sword, which, however, cannot defeat Koshchei. The image of the main fairy-tale villain Viktor Vasnetsov wrote for nine years. Chronologically, the picture was the last for the artist.
In my opinion, there is no better illustrator of fairy tales than V. M. Vasnetsov, well, except perhaps I. Bilibin. About him on the next page.
Viktor Mikhailovich Vasnetsov (1848-1926) is one of the first Russian artists who pushed the boundaries of the usual genres and showed the fairy-tale world, illuminated by the poetic imagination of the people. Vasnetsov, one of the first Russian artists, turned to recreating the images of folk tales and epics in painting. His fate turned out as if he was destined in advance to be a singer of a Russian fairy tale. His childhood passed in the harsh picturesque Vyatka region. The talkative cook, who tells fairy tales to children, the stories of wandering people who have seen a lot in their lifetime, according to the artist himself, "made me love the past and present of my people for life, largely determined my path." Already at the beginning of his work, he created a number of illustrations for The Little Humpbacked Horse and The Firebird. In addition to fairy tales, he has works dedicated to the heroic images of epics. "The Knight at the Crossroads", "Three Heroes". The famous canvas "Ivan Tsarevich on a gray wolf" is written on the plot of one of the most famous and widespread fairy tales reproduced in popular prints of the 18th century.
"Princess-Nesmeyana"
In the royal chambers, in the prince's palaces, in a high tower, Nesmeyana the princess flaunted. What a life she had, what freedom, what luxury! There is a lot of everything, everything is what the soul wants; but she never smiled, never laughed, as if her heart did not rejoice at anything.
Here are merchants, and boyars, and foreign guests, storytellers, musicians, dancers, jesters and buffoons. They sing, clown, laugh, strum on the harp, whoever is in what much. And at the foot of the high tower - ordinary people, also crowding, laughing, shouting. And all this buffoonery is for the princess, the only royal daughter. She sits sadly on a carved white throne by the window. “There is a lot of everything, there is everything that the soul wants; but she never smiled, never laughed, as if her heart did not rejoice at anything. And what is there, to tell the truth, to rejoice if no one ever talks heart to heart with her, no one comes up with a pure heart?! Everyone around is just making noise, they are aiming for suitors, they are trying to present themselves in the best light, and no one cares about the princess herself. That is why she is Nesmeyana, until the only, long-awaited one comes, who will give her a smile instead of buffoonery, warmth instead of indifference. And he will come, of course, because that's what the fairy tale affects.
"Koschei the Immortal and Beloved Beauty"
As soon as he managed to leave the yard, and Koschey into the yard: “Ah! - speaks. - Russian scythe smells; know you had Ivan Tsarevich. - “What are you, Koschey the Immortal! Where can I see Ivan Tsarevich? He remained in the dense forests, in the viscous mud, until now the animals have eaten! They began to have supper; at dinner, Beloved Beauty asks: “Tell me, Koschey the Immortal: where is your death?” - “What do you want, stupid woman? My death is tied in a broom."
Early in the morning Koschei leaves for the war. Ivan Tsarevich came to the Beloved Beauty, took that broom and brightly gilded it with pure gold. The tsarevich had just managed to leave, and Koschei went into the yard: “Ah! - speaks. - Russian scythe smells; know you had Ivan Tsarevich. - “What are you, Koschey the Immortal! He himself flew around Rus', picked up the Russian spirit - you smell of the Russian spirit. And where can I see Ivan Tsarevich? He remained in the dense forests, in the viscous mud, until now the animals have eaten! It's supper time; Beloved Beauty herself sat down on a chair, and she put him on a bench; he looked under the threshold - there is a gilded broom. "What's this?" - “Ah, Koschey the Immortal! You yourself see how I honor you; if you are dear to me, so is your death.” - "Stupid woman! Then I joked, my death is sealed up in an oak tynu.
"Princess Frog"
Consider a reproduction of the painting by V. Vasnetsov "Feast" (p. 19 of the textbook).
If possible, it would be interesting to compare this picture with the illustration made for this episode of the fairy tale by I. Bilibin.
Bilibin's illustrations framed by floral ornaments very accurately reflect the content of the tale. We can see the details of the costumes of the heroes, the expression on the faces of the surprised boyars, and even the pattern on the kokoshniks of the daughters-in-law. Vasnetsov in his picture does not linger on the details, but perfectly conveys the movement of Vasilisa, the enthusiasm of the musicians, who, as it were, stamp their feet to the beat of a dance song. We can guess that the music Vasilisa dances to is cheerful, mischievous. When you look at this picture, you feel the nature of a fairy tale.
- Why do people call Vasilisa the Wise? What qualities does the people glorify in the image of Vasilisa?
The painting by V. Vasnetsov creates a generalized image of a beautiful princess: next to her are harpists, people. The illustration by I. Bilibin specifically depicts an episode of the feast: in the center is Vasilisa the Wise, at the wave of her hand miracles happen; around people amazed by what is happening. There are different types of work available here:
1. Describe verbally what you see in each of the pictures (characters, setting, appearance of the people around, their mood, prevailing colors).
2. Compare the image of Vasilisa the Wise by Vasnetsov and Bilibin. Is this how you imagine the main character of the fairy tale?
"Carpet plane"
The fantasy of the people created a fairy tale about a flying carpet. You see two paintings by Vasnetsov with this name - early and late. On the first of them, a proud young man from a flying carpet looks at the expanses of Russian land spreading below. The discreet northern nature served as a backdrop for the painting by the artist. Rivers and lakes sparkle, a forest stands like a dark wall, huge birds accompany the carpet. The Firebird caught by the hero burns with bright fire in the cage. This canvas tells about the wisdom, strength, dexterity of the people. The second picture is lighter, more colorful. The bright rays of the sunset, cutting through the veil of clouds, have become a successful background for the picture. Nature through the clouds is seen bright, juicy greenery, perhaps because the heroes descended closer to it. And a girl with a young man in sparkling clothes embroidered with gold do not seem to be outsiders on the canvas. Their young faces are beautiful, they gently bowed to each other, personifying fidelity and love.
Alyonushka, Snegurochka, Elena the Beautiful - these fictitious images and portraits of women close to Vasnetsov "in spirit" - Elena Prakhova, Vera and Elizaveta Grigorievna Mamontovs, portraits of his wife, daughter, niece from different sides highlight what is called the Russian female soul, which becomes for Vasnetsov personification of the Motherland, Russia.
Alkonost. In Byzantine and Russian medieval legends, a wonderful bird, a resident of Iria, a Slavic paradise. Her face is feminine, her body is birdlike, her voice is sweet, like love itself. Hearing the singing of Alkonost, with delight, he can forget everything in the world, but there is no evil from her, unlike Sirin.
Alkonost carries eggs on the edge of the sea, but does not incubate them, but plunges them into the depths of the sea. At this time, the weather is calm for seven days. According to the ancient Greek myth, Alcyone, the wife of Keik, having learned about the death of her husband, threw herself into the sea and was turned into a bird, named after her Alcyone (kingfisher).
It is depicted in popular prints as a half-woman, half-bird with large multi-colored feathers and a girl's head, overshadowed by a crown and a halo, in which a brief inscription is sometimes placed. In addition to wings, Alkonos has hands in which she holds heavenly flowers or a bundle with an explanatory inscription. She lives on a tree of paradise, on the island of Buyan, together with the bird Sirin, has a sweet voice, like love itself. When she sings, she does not feel herself. Whoever heard her wonderful singing will forget everything in the world. With her songs she consoles and uplifts future joy. This is a bird of joy.
But Sirin, a dark bird, a dark force, a messenger of the ruler of the underworld. From the head to the waist, Sirin is a woman of incomparable beauty, from the waist - a bird. Whoever listens to her voice forgets about everything in the world and dies, and there is no strength to force him not to listen to Sirin's voice, and death for him at this moment is true bliss. Dahl in the famous dictionary explained as follows: "... mythical and church birds of an owl, or an eagle owl, a scarecrow; there are popular prints depicting birds of paradise with female faces and breasts”(V. Dal "Explanatory Dictionary of the Living Great Russian Language"). In Russian spiritual verses, the Sirin, descending from paradise to earth, enchants people with her singing. In Western European legends, Sirin is the embodiment of an unfortunate soul. This is the bird of sorrow.
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Biography
Yuri Alekseevich Vasnetsov (1900-1973) - Russian artist, illustrator, graphic artist and painter. Born into a family of a priest, there were many famous painters and artists in the family - Appolinary Vasnetsov, who depicts mainly historical subjects in his canvases, Viktor Vasnetsov - who did not see his famous "Bogatyrs"! - also, among the distant relatives was Alexander Vasnetsov, a folklorist who collected and published more than 350 songs of the Russian people, mainly of northern Russia. Such a cultural family heritage could not but affect the descendant and was reflected in his further work, where folklore traditions, humor and the grotesque merged together.
Yuri Vasnetsov from his youth connected his life with the illustration of children's books. In 1928, he began to cooperate with the excellent Detgiz publishing house, which later became the equally famous Children's Literature. He designed a large number of children's books - "Swamp", "Cat's House" and "Teremok", "The Stolen Sun" and "Confusion" and many others. In parallel with illustration, he taught fine arts at the Leningrad school, drew postcards, designed costumes and scenery for Leningrad theaters, and was engaged in painting. In 1971, an animated film "Terem-Teremok" was shot based on his drawings.
As a child, my mother used to read all the books and fairy tales to me. And the nanny too. The story entered me...
The publisher gives me the text. I take the one I like. And it happens that there is no fairy tale in it. It happens that it is only four or even two lines, and you can’t make a fairy tale out of them. And I'm looking for a fairy tale ... I always remember for whom the book will be.
Buy books with illustrations by Yuri Vasnetsov
Images
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Name rainbow arc
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Name Wolf and goats
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Name Ruff kids
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Name Spikelet
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Name vorkot cat
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Name never-before
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Name Naughty goat
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Name Tom Thumb
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Name Fox and mouse
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Name Rainbow
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Name Swamp
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conversations
"Neskuchny garden", 01.2008
To the limit, generalized, condensed images were instantly recognized and accepted as native - both by children and adults. It was clear that these were our heroes, Russians from heels to ears. But not epic, but living somewhere nearby. Looking at us from under the bush the way the sad top from the Tale of Fairy Tales looks - sensitively and intently.
"Young Artist", No. 12.1979
Few people manage to carry childhood impressions through their whole lives the way Vasnetsov did. The artist did not lose over the years the immediacy of the perception of nature; vividly recalled national holidays. “I remember everything as if in reality! .. I remember everything like that, apparently, I didn’t just look like that - I penetrated into everything, and not just like that. But I regret that not everything remained in my memory, I did not look at everything carefully. I should have looked more… There was a lot of unique beauty!” - in these words one sees the wisdom of the old master, the openness of his soul to the beauty of life. Yuri Alekseevich Vasnetsov was a happy man, because he rejoiced in his childhood and brought this joy into his works; his joy and happiness became the property of other people - adults and children.
Events
17.03.2014
As part of the Days of Children's Books in the Library of Book Graphics in St. Petersburg on March 20 at 19.00, the exhibition "Artists of the pre-war DETGIZ" opens. The exhibition presents illustrations, sketches, prints, lithographs, covers, books by masters of book graphics of the pre-war period.
Yuri Alekseevich Vasnetsov is rightfully considered the artist of the Russian fairy tale.
One of the main features of his artistic method is the inextricable organic connection with folk art. Moreover, Yu. Vasnetsov reworks the principles of folk art, bringing them closer to contemporary art. The images he created are marked by optimism, a life-affirming force that is characteristic of folk art.
Fantastic, fabulous landscapes are based on living impressions of real Russian nature. Birds and animals acting in fairy tales acquire special expressiveness from Yu. Vasnetsov precisely because the artist gives them movements and habits, vigilantly noticed in reality. A specific feature of Yu. Vasnetsov's artistic method is a rare ability to create as if on behalf of his future viewer, the ability to relive a child's passion for a fairy tale and, as it were, to pass through the prism of children's perception of the traditions of folk art.
One of the artist's favorite compositional techniques is the repetition and roll call of motifs. At the same time, each Vasnetsov's book is a new version of figurative, compositional, coloristic solutions.
The emotional structure of Yu. Vasnetsov's drawings is organized by color, which plays a special role. It does not lose the decorative effect characteristic of folk art, but at the same time it becomes the bearer of the intense poetic feeling invested by the artist in the theme of a fairy tale.
The color of Vasnetsov's illustrations is like a color alphabet for a child. The color of the characters is defined, simple, it is easy to call it: a gray wolf, white geese, a red fox, etc. At the same time, Yu. Vasnetsov surprisingly accurately achieves the proportionality of real and fantastic colors, which contributes to the child’s correct perception of the image. In the book "Ladushki" the artist uses the color of the background boldly and inventively. Color becomes here, as it were, the environment in which the action takes place. Art historians conditionally called this technique the "principle of a magic lantern." Joyfully and festively illuminating funny scenes with yellow, red, blue or pink "light", the artist attracts the viewer's attention with the unexpectedness of the color background of the page, using the method of quickly changing impressions close to children. But each color spot of the illustration, "tuned" in accordance with the sound of the color background, lives its own life, being included in the overall composition.
Yuri Alekseevich illustrated and designed books by V. Bianchi, S. Marshak, K. Chukovsky, Russian folk tales, etc.
Books designed by Yu. A. Vasnetsov are easily recognizable. The illustrations in them are of paramount importance, the text obeys them. Yu. A. Vasnetsov draws up the book as a whole, while the strict constructiveness and logical completeness of all its elements do not hamper the creativity and inexhaustible imagination of the master.
Yu. Vasnetsov's picture books introduce the child to life through art (L. Tolstoy "Three Bears", P. Ershov "The Little Humpbacked Horse", S. Marshak "Teremok", etc.). The best works of the artist are illustrations for the collections "Ladushki" and "Rainbow-Arc".
Chukovsky K. I. Fairy tales/ K. I. Chukovsky. ; rice. Yu. Vasnetsov, A. Kanevsky, V. Konashevich, V. Suteev.-M.: Art, 1982.- 164, p. : col. ill.
Vasnetsov Yu. A. 10 books for children/ Yu. Vasnetsov. ; [ed. foreword L. Tokmakov; ed. V. I. Silver; comp. G. M. Vasnetsova; formal. D. M. Plaksin] .-L .: Artist of the RSFSR, 1984.- 173, p. : ill., tsv. ill.
Ladushki: poems, songs, nursery rhymes, fairy tales/ artist Y. Vasnetsov. .-M.: Samovar, pec. 2005.-76, p. : col. ill.; 23 cm - (Thirtieth tales)
Russian tales/ rice. Yu. A. Vasnetsova. .- [Ed. 3rd].-L .: Children's literature, 1980.- 84, p. : ill.: 1.20 82.3 (2Ros) -6Р15
Rainbow: Russian folk tales, songs, nursery rhymes/ [rice. Yu. Vasnetsova]. .-M.: Children's literature, 1989.- 166, p. : col. ill.
Bianchi V. Karabash.- M. - L.: GIZ, 1929.
Bianchi V. Swamp. - L .: Mol. Guard, 1931.
Ershov P. The Little Humpbacked Horse. - L .: Children's publishing house, 1935.
Tolstoy L. Three Bears. - L .: Children's publishing house, 1935.
Chukovsky K. Stolen sun. - M.: Detizdat, 1936.
Children's folk tales. - L .: Children's publishing house, 1936.
Marshak S. Teremok.- M.: Detizdat, 1941.
English folk tales.- M.: Detgiz, 1945.
Bianchi V. Fox and Mouse. - L .: Det. lit., 1964.
Okay. Russian folk tales, songs, nursery rhymes. - M.: Det. lit., 1964.
Rainbow arc. Russian folk songs, nursery rhymes, jokes. - M.: Det. lit., 1969.
Chiki-chiki-chikalochki. Russian folk songs and nursery rhymes. Collected and arr. N. Kolpakova. - L .: Det. lit., 1971.
Artist's work
